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10. TEXTILE SCAFFOLD

RESEARCH

We started with an incredibly insightful presentation by Anastasia Pistofidou available HERE.

For my projects I focused on leather molding and crystallization, exploring how organic and structural forms can intersect in design.

LEATHER MOLDING

It’s a traditional technique that involves shaping leather into a desired form by softening it with water or heat and pressing it onto a mold or frame. The process allows for the creation of intricate, sculptural designs as the leather conforms to the contours of the mold. Once dried, the leather hardens and retains its new shape. This method emphasizes the natural flexibility and durability of leather, resulting in unique, textured forms.

My idea was inspired by sculptural silhouettes and spiky textures. The corset design focuses on molded leather forms combined with sharp spikes for a bold statement.

ARTISTS INSPO

ESTHER PERBANDT

Esther Perbandt, a Berlin-based avant-garde designer, is known for her innovative approach to fashion that merges strength and craftsmanship. Her “To The Moon” project explores leather molding as a technique to create sculptural, body-hugging forms that appear both organic and futuristic>

KOFTA STUDIO

Kofta Studio, led by Ukrainian designer Konstantin Kofta, is renowned for his fashion and accessories pieces that blend art, architecture, and nature. The studio pushes boundaries by crafting sculptural leather pieces that challenge conventional design, transforming bags, shoes, and garments into wearable art mimicing body parts, bones, or natural textures.

DESIGNING THE MOLD

For my leather molding project, we used a CNC milling machine and foam as the mold material. Although foam isn’t the most sustainable choice, time constraints and the need to accommodate all students made it necessary. In the future, I would like to explore working with wood or metal for greater sustainability and durability.

My vision was to create a spikey corset, starting with a 3D scan of my body using the PolyCam app on my phone. Since the free version only exports .gltf files, I converted the scan to .stl using imagetostl.com. Designing the spikes was challenging as I’m still learning Rhino and Grasshopper. I found a helpful tutorial on spikey designs (linked below), but completing the design wouldn’t have been possible without Neyla, who helped project the spikes onto my body scan. Together with Neyla and Petra, we finalized the mold design.

CUTTING THE MOLD

KEY LESSON: CNC milling takes much longer than the program’s estimated time, so give yourself plenty of extra hours!

LEATHER PREPARATION + MOLDING

Once I had my mold, I prepared the leather by boiling water with about five tablespoons of baking soda and soaking the leather I bought from Encants Market, a short walk from the Fab Lab. With help from Cora for stretching and Sophie for closing the mold tightly, we secured the leather using pressing tools and left it for 4.5 days to dry.

Aftar that time, I made a mistake assuming the leather was fully dry, I removed it from the mold too soon, which altered its shape. Even after putting it back and massaging it into form, the comparison shows how much it shifted. The key takeaway: leave the leather in the mold until it’s completely dry. After you open the mold, leave it for additional days without touching it!

Looking ahead, I plan to implement chains I found at the market and wear the spiked corset over a sheer shirt. It’s still a work in progress, but I’m excited about the outcome and what I’ve learned through this process!

HOW TO: LEATHER MOLDING?

STEP-BY-STEP

  1. Pour boiling water into a bowl and let it cool down to approx. 85 degrees.
  2. Mix 5 tablespoons of baking soda in the water and stir until it is dissolved.
  3. Put the leather in water and leave it for approx. ½ hour until it has become soft. ( the time varies according to the different thicknesses and types! Make a trial with a small piece before!)
  4. Take the leather out of the water and shake off the water.
  5. Place your object on a flat surface (cover it with varnish or thin film for waterproofing)
  6. Place the leather on the selected object and press it down over the object/mold, stretch it and nail it, massage it, until it starts to take shape.
  7. Form sharp edges with the blunt side of a table knife.
  8. Use a blow dryer to make the leather shrink in and solidify over the object.
  9. Optional: Once dried, cover with PVA glue or Polycell Deep Gap Polyfilla on the back side to harden it more.

TIPS + TRICKS

    𖡎 Your molds can be made out of high density plywood. In case you use MDF you need to waterproof it by varnishing it.
    𖡎 Depending on how stiff you need the final to be, you choose not only the correct thickness of leather, but also water temperature and soak time. Figure out the result you're looking for and research accordingly.
    𖡎 Even with the right leather you can get it super stretchy, but without the correct amount of stiffness or you could get it to the point where it would be as hard as plastic, but it will be of no use to you because it will have lost a decent amount of its size, a good amount of its stretch and will no longer form over your mold.
    𖡎 The longer it soaks, the more brittle it can get, as well.
    𖡎 Research and trial and error, but enough research will reduce your errors.
    𖡎 Vegetable-tanned leather works better.

ADDITIONAL TUTORIALS ON HOW TO MAKE MOLDS AND DIY VACUUM MOLDING

CRYSTALIZATION

Crystalization in fashion is about applying chemical solutions to surfaces like textiles or accessories. This technique adds dimension and visual intrigue, blending science with art to produce unique, unpredictable patterns. It's a method that pushes the boundaries of material exploration.

Crystalverse is a website where you can find a lot of tutorials and instructions on how to grow crystals.

For my project I wanted to crystalise a materials into sculptural, otherworldly forms. The process amplifies texture, turning delicate structures like fabrics into shimmering, hardened artifacts that evoke strength.

ARTISTS INSPO

BATOUL OMAR AL-RASHDAN

Batoul Omar Al-Rashdan’s “Bllura Musa” crystallization collection, developed as part of the Fabricademy program, merges natural inspiration with fashion innovation. Using technologies like 3D printing, crystallization techniques, and computational couture, the collection showcases wearable pieces that mimic salt formations and the raw textures of the Dead Sea.

ALICE POTT

Alice Potts' "INPerspire" project transforms human sweat into wearable art by crystallizing it onto baseball caps. Participants from diverse lifestyles wore the caps for six weeks, allowing their sweat to saturate the fabric. Potts then grew the crystals by placing the caps in a salt solution, highlighting the individuality of each person’s biological makeup.

SIGALIT LANDAU

Sigalit Landau, an artist, reimagines cultural narratives and natural processes in her works, often using the Dead Sea as a transformative medium. In 2014, Landau created a life-size replica of the iconic white wedding dress from The Dybbuk, a play deeply rooted in Jewish tradition, and immersed it in the Dead Sea. Starting as a black dress, symbolic of Hasidic culture and Eastern European shtetls, the fabric underwent a crystallization process, turning it white as salt deposits grew on its surface.

CRYSTALIZING A 'FURRY' TOP

This project I started by going to Encants Market to look for something to crystalize. I found this 'furry' top.

MATERIALS NEEDED

    𖡎 Boiled water: 6.5 liters (already prepared).
    𖡎 Borax: Start with a concentration of about 300-400 grams per liter of water.
    𖡎 Alum (aluminum sulfate): Use around 150-200 grams per liter of water.
    𖡎 A large container to fully submerge the top.
    𖡎 A hanger or something to keep the top in shape while soaking.

STEPS

PREPARE THE SOLUTION

    𖡎 While the water is still hot (around 60–70°C is ideal for better dissolving), divide it into manageable portions and dissolve the borax and alum separately in a 2:1 ratio (e.g., 2 parts borax to 1 part alum). I added 2kg of borax and 1kg of alum.
    𖡎Stir the solution thoroughly until the powders are fully dissolved. The solution should be super-saturated, meaning no more powder can dissolve at that temperature.

PREPARE THE TOP

    𖡎 Ensure that you cover the inside (and all parts you don't want to crystalise) of the top with tape.

SOAK THE TOP

    𖡎 Soak the top completely in the solution. You can either fold it creatively or hang it to achieve unique crystallization patterns.
    𖡎 Ensure it doesn’t touch the sides of the container for uniform crystal growth.

LEAVE TO CRYSTALIZE

    𖡎 Allow the top to soak in the solution for 12–48 hours. The longer you leave it, the larger the crystals will grow.
    𖡎 Keep the solution undisturbed at room temperature or slightly cooler for the best results. Moving or agitating the solution can disturb crystal growth.

REMOVE + DRY

    𖡎 After 12 hours, check the top. If the crystals are forming well, you can decide whether to keep it for longer. If you want larger crystals, let it stay longer.
    𖡎 Carefully remove the top, allowing excess solution to drip off. Lay it flat or hang it to dry completely.
    𖡎 Avoid touching the crystals during drying as they are fragile when wet.

CRYSTALIZED TOP

I aimed to achieve a spiky crystal effect by experimenting random mixing of borax and alum, hoping to create a unique texture. However, the outcome didn’t meet my expectations.

I realized part of the challenge was the material I chose, a furry fabric struggled to hold and grow large, well-defined crystals. The uneven attachment made the crystals appear less structured and cohesive than I envisioned.

While this experiment didn’t yield the desired result, it reinforced my interest in crystallization as a design technique. I believe there’s still untapped potential in this process, but achieving consistent and visually satisfying outcomes requires a more controlled and deliberate approach. This project was a learning experience that has inspired me to refine and revisit crystallization in future explorations.

REFERENCES

    𖡎 ‘BLOOD CRYSTALS.’ (1898) JAMA: The Journal of the American Medical Association, XXXI(20), p. 1182. Available at: https://doi.org/10.1001/jama.1898.02450200050007.